A Free Performance presented by
Dancehouse and Lucy Guerin Inc. 

March 31, 2010

50/50 works on extreme and spectacular expressions as a physical practice rather than through psychological motivations.

Movements deriving from clearly coded situations, like a rock concert, an opera or a circus number are processed until the obtain a certain kind of deformed expressivity. It looks like affects rather than emotions, except no one knows what affects look like.

Mette Ingvartsen          Mette Ingvartsen

Picture credit © Peter Lenaerts

In spite of manifestos belonging to the past - here comes another one.

Yes to redefining virtuosity
Yes to conceptualizing experience, affects, sensation
Yes to materiality/body practice
Yes to investment of performer and spectator
Yes to expression
Yes to excess
Yes to "invention" (however impossible)
Yes to un-naming, decoding and recoding expression
Yes to non-recognition, non-resemblance
Yes to non-sense/illogic
Yes to organizing principles rather than fixed logic systems
Yes to moving the "clear concept" behind the actual performance of
Yes to methodology and procedures
Yes to animation
Yes to style as a result of procedure and specificity of a proposal.
Yes to complexity

Choreography and performance: Mette Ingvartsen
Music: Deep Purple, Leoncavallo, Cornelius
Sound design: Peter Lenaerts


Mette Ingvartsen is a choreographer and dancer living and working in Brussels since 2000. She studied in Amsterdam and Brussels where she in summer 2004 graduated from P.A.R.T.S. Since summer 2002 she has primarily been working on her own projects among other things "Solo Negatives" (2002), "Manual Focus" (2003) "Out Of Order"(2004) "50/50"(2004) and "to come" (2005). Her work has been shown in venues in Germany, Belgium, Netherlands, Austria and Scandinavia.
Thanks to Podevil, Berlin, P.A.R.T.S, Hannah Sophie Hohlfeld, Mårten Spångberg and Bojana Cvejic.

Date: March 31

Time: 8.00 pm

Cost: No Charge

Free Event - No reservations - Tickets available from 6pm on the day ONLY

This project has been supported by the Danish Arts Council Committee for Performing Arts and the Besen Family Foundation